明代北宗山水画风格研究

发布时间：2018-06-20 07:30

本文选题：北宗山水画 + 风格　；参考：《浙江师范大学》2013年硕士论文

【摘要】：在明代初、中期的画坛上,由于受到特殊政治环境、经济环境、文化环境、地理环境等复杂因素的综合影响,北宗山水画极为兴盛,先后涌现出了王履、戴进、吴伟、唐寅、仇英等伟大画家,在绘画风格上也形成了北宗山水画之“北派”风格、“南派”风格、“北宗为体,南宗为用”风格及“青绿”风格四大具体样式。本文首先从绘画“风格”入手重新界定了山水画的“南北宗”理论,进而对北宗山水画的四大风格样式分别进行了源流关系的梳理。紧接着在论文的第二章结合具体的画家及作品,综合使用风格学、图像学、文献学、比较学、心理学等研究方法,重点对明代北宗山水画四大风格展开深入研究。对以王履为代表的“北派”风格与以戴进、吴伟为代表的“南派”风格从哲学和美学及地理学的角度进行了对比研究,对唐寅的“北宗为体,南宗为用”风格与仇英的“青绿”风格从明代中期文人画家的职业化与职业画家的文人化角度进行分析论述。通过四大风格的具体研究揭示出风格演变过程中所遵循的否定之否定的内在规律。在第三章中,本文就明代北宗山水画得以复兴的传统因素、政治因素、文化因素、地理因素、市场因素进行了全方位的探索。第四章则分别论述了明代北宗山水画在理论方面对董其昌“南北宗”理论及石涛画论的影响；对同时代明代院体花鸟画及日本室町时代风景画的影响；以及对二十世纪陈少梅等北宗山水画家的影响。第五章则对明代北宗山水画在明代历史及山水画史上的史学意义进行了论述。本文从历史的宏观角度对明代北宗山水画的发展过程加以动态的科学研究,通过对明代北宗山水画风格的分类及成因的论述,以及对风格与风格之间前后演变规律的探讨,进而重现明代北宗山水画的完整风格体系。
[Abstract]:In the early Ming Dynasty, in the middle period of the Ming Dynasty, due to the complex influence of the special political environment, economic environment, cultural environment, geographical environment and other complex factors, the northern landscape painting was flourishing, and came out of the great painters, Wu Wei, Tang Yin, Qiu Ying and other great painters. In the painting style, the "north school" style of the northern landscape painting was also formed, " The style of the south school, the north is the body, the south is used in the style and the green style of the four specific styles. First, from the "style" of the painting, this paper redefines the "north and South" theory of the landscape painting, and then combs the origin and flow of the four styles of the northern landscape painting. Then, it combines the second chapters of the thesis. Specific painters and works, comprehensive use of stylistics, iconology, philology, comparative studies, psychology and other research methods, focus on the four styles of the northern landscape painting in the Ming Dynasty. The style of "north school" represented by Wang Lvwei and the style of "south school", represented by Wu Wei, are from the perspective of philosophy, aesthetics and geography. The comparative study of Tang Yin's "North for the body, the south for use" style and the "green green" style of the enemy from the middle of the Ming Dynasty, from the perspective of the professionalization of the literati painters in the middle of the Ming Dynasty and the literalization of the professional painters. Through the concrete study of the four styles, the internal law of negative negation followed in the process of style evolution is revealed. In the three chapter, this article explores the traditional factors, political, cultural, geographical, and market factors in the Renaissance of the northern landscape painting in the Ming Dynasty. The fourth chapter expounds the influence of the northern sect of the Ming Dynasty on the theory of Dong Qichang 's "north and South" and the Shi Tao's painting theory in the Ming Dynasty. The influence of the bird painting and the Japanese landscape painting in the age of the kamamo, as well as the influence on the northern landscape painters of the northern sect of Chen Shaomei in the twentieth Century. The fifth chapter discusses the historical significance of the northern landscape painting in the Ming Dynasty and the history of the landscape painting.
This paper makes a dynamic and scientific study on the development process of the northern sect landscape painting in Ming Dynasty from a historical perspective, and discusses the classification and causes of the style of the northern landscape painting in the Ming Dynasty, as well as the evolution of style and style between style and style, and then reproduces the complete style system of the northern sect landscape painting of the Ming Dynasty.
【学位授予单位】：浙江师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

【参考文献】